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7A Records are proud to announce the release of Micky Dolenz Sings R.E.M., a 4 track EP released
on November 3rd. The EP is comprised of songs R.E.M. wrote throughout their career, all beautifully
reimagined by Dolenz and producer Christian Nesmith. The EP features fresh and completely new
arrangements of some of R.E.M.’s most memorable and catchy songs. As Dolenz says: “Once again,
this EP reaffirms my long-held conviction that a solid recording always begins with solid material. You
don’t get much solid than R.E.M. What a joy to, once again, bring these songs to life”.
R.E.M. Reactions to the EP:
“These songs are ABSOLUTELY INCREDIBLE. Micky Dolenz covering R.E.M. Monkees style, I have
died and gone to heaven. This is really something. Shiny Happy People sounds INCREDIBLE (never
thought you or I would hear me say that!!!). Give it a spin. It’s wild. And produced by Christian Nesmith
(son of Michael Nesmith), I am finally complete”. Michael Stipe
"That voice---one of the main voices of my musical awakening---singing our songs... It is beyond
awesome. Let's help make this as huge as we possibly can. I am beyond thrilled." Mike Mills
"I've been listening to Micky's singing since I was nine years old. It's unreal to hear that very voice,
adding new depth to songs we've written ourselves, and inhabiting them so completely." Peter Buck
"I am blown away! Micky and Christian just take these tracks to unexpected places”. Scott
McCaughey

Das Duo mit Wohnsitzen in San Francisco und New York besteht aus Mike Stroud, der sich gelegentlich seine Brötchen als Tour-Gitarrist von Dashboard Confessional und Ben Kweller verdient, und Mastermind und Soundtüftler Evan Mast. Evan mag manch einem bereits unter dem Pseudonym E*Vas bekannt sein oder auch als Mitbegründer des Labels Audio Dregs. Er ist der Mann hinter den Achtziger-Amiga-Sounds und den relaxten Beats und zeichnet verantwortlich für so verrückte Ideen, wie z.B. die deutsche Nationalhymne zu verclashen. Solche Geistesblitze hat er im Dutzend, und so entstand ein Album prallvoller Emo-Electroclash-Tunes für Couch Potatoes. Da ist es beinahe Ironie des Schicksals, dass diese Band ausgerechnet von Paul Bangs entdeckt wurde, seines Zeichens Sänger einer der fleißigsten Live-Bands der Welt: Interpol.

The iconic electronic music masterpiece, "The House Of House" by Cherrymoon Trax, is set to make an electrifying return to the scene. Originally introduced in 1994, this timeless classic, helmed by the talented trio Axel Stephenson, Yves Deruyter, and Franky Kloeck, has been revitalized in a new remastered wax format. The eagerly awaited release is a special double 12", featuring mixes that have never graced vinyl before, alongside the cherished original and other mixes that have left an indelible mark over the years. As an added treat, collectors will find the inclusion of the original tracks "Let There Be House" and "Conflictation." Presented in a captivating 2 color vinyl format (black & white) that harmonizes seamlessly with the sleeve, this reissue is undoubtedly a must-have for electronic music aficionados and vinyl collectors alike. Brace yourselves for the resurgence of a true masterpiece that continues to shape the landscape of electronic music. It’s also the introduction to a new upcoming single with the return of Axel Stephenson.

Well, we're two full months into 2017 and the world continues to burn like an avalanche of flaming biohazard material sliding down a mountain of used needles into a canyon full of rat feces. But hey, it's not all bad: Portugal. The Man has a new album coming out called Woodstock.


PTM's last album came out over three years ago—a long gap for a band who've dropped roughly an album a year since 2006. And in true, prolific band fashion, they've spent almost every minute since 2013 working on an album called Gloomin + Doomin. They created a shit-ton of individual songs, but as a whole, none of them hung together in a way that felt right. Then John Gourley, PTM's lead singer, made a trip home to Wasilla, Alaska, (Home of Portugal. The Man's biggest fan, Sarah Palin) and two things happened that completely changed the album's trajectory.

First, John got some parental tough love from his old man, who called John on the proverbial carpet or dogsled or whatever you put people on when you want to yell at them in Alaska. What's taking so long to finish the album' John's dad said. Isn't that what bands do Write songs and then put them out' Like fathers and unlicensed therapists tend to do, John's dad cut him deep. The whole thing started John thinking about why the band seemed to be stuck on a musical elliptical machine from hell and, more importantly, about how to get off of it.

Second, fate stuck its wiener in John's ear again when he found his dad's ticket stub from the original 1969 Woodstock music festival. It seems like a small thing, but talking to his dad about Woodstock '69 knocked something loose in John's head. He realized that, in the same tradition of bands from that era, Portugal. The Man needed to speak out about the world crumbling around them. With these two ideas converging, the band made a seemingly bat-shit-crazy decision: they took all of the work they had done for the three years prior and they threw it out.

It wasn't easy and there was the constant threat that the band's record label might have them killed, but the totally insane decision paid off. With new, full-on, musical boners, the band went back to the studio—working with John Hill (In The Mountain In The Cloud), Danger Mouse (Evil Friends), Mike D (Everything Cool), and longtime collaborator Casey Bates (The one consistent producer since the first record). In this new-found creative territory, the album that became Woodstock rolled out naturally from there.

Remember that mountain of burning needles we were talking about Good. Because Woodstock is an album (Including the new single Feel It Still') that—with optimism and heart—points at the giant pile and says, Hey, this pile is fucked up!' And if you think that pile is fucked up too, you owe it to yourself—hell, to all of us—to get out there and do something about it.

The sixth full-length release for the Scottish indie pop band was produced by Bright Eyes' Mike Mogis. Since the band started in 1987, the Trash Can Sinatras have always been reliable. Every record has delivered exactly what people needed from them: lovely guitar pop songs done with a light touch, deep emotional feelings, and melodies as rich and warm as a late-autumn heat wave. Since their original run ended in the '90s, they've come back regularly to remind people that they are just about the best guitar pop band still going, with a new album roughly every five years or so. Wild Pendulum finds the band in fine form, expectedly. It also finds them doing a bit of sonic experimentation, unexpectedly. With former Adventures in Stereo mastermind Simon Dine on board providing the kind of ""sonic scenery"" he added to many recent Paul Weller albums and producer Mike Mogis capturing fuller arrangements than usually heard on TCS albums, it's the most sonically interesting album of their long career.

There is no stopping the mighty SORCERER and in the autumn of 2023 the band will release their highly anticipated fourth album entitled ‘Reign Of The Reaper’. Again not content with repeating themselves the album features some of the darkest, heaviest and most aggressive material the band has ever recorded, and at the same time some of the most lyrical and beautiful. The band holed up in their home studios and wrote music all through 2022 and then once again headed to SolnaSound Recording in Stockholm, the studio owned, run and operated by Simon Johansson (Wolf, Soilwork) with Mike Wead (King Diamond). SORCERER are also known for their long title tracks with catchy and highly memorable choruses, and the second single ‘Reign Of The Reaper’ is no exception. Taking the listener through the realms of death and dread, this doom-laden epic with it’s many twists and turns will crush souls, leaving metal fans begging for more darkness and despair.

Svart Records proudly presents Pekka Pohjola's "Heavy Jazz - Live in Helsinki" for the first time on vinyl! Legendary Finnish composer and bassist Pekka Pohjola, known from his work in Wigwam, Made In Sweden, touring with Mike Oldfield and having a successful solo career, caught live at Tavastia Club, Helsinki, Finland on April 18th 1995. Joining Pohjola (bass) on stage are Seppo Kantonen (keyboards), Markku Kanerva (guitars) and Anssi Nykänen (drums). During his long career that took him from riding the Finnish prog rock wave to the heavy jazz rock heights of the 1990s, Pekka Pohjola tried his hand in many things. Heavy Jazz has previously only been released on CD in 1995 and 2011 by Pohjola Records and will now finally be available on wax as well. Heavy Jazz is presented on a 2LP edition of classic black vinyl. Limited to 500 copies.

Nach über einem Jahrzehnt ist das erste und einzige PEEPING TOM-Album - eines der gefragtesten Alben von Mike Patton (Faith No More, Mr. Bungle) überhaupt - nun endlich wieder erhältlich. Unter den mitwirkenden Gästen so namhafte Musiker wie u.a. Norah Jones, Massive Attack, Kool Keith und viele mehr.

In Anlehnung an den psychologischen Horrorfilm aus dem Jahr 1960, der Patton zu dem Namen inspirierte, entstand PEEPING TOM in einem Modus Operandi ohne physische Nähe. Patton schrieb Songs mit einer Wunschliste von theoretischen Kollaborateuren im Kopf und hoffte dann auf eine Antwort in Form eines fertigen Tracks.

Das Album enthält auch Beiträge von Amon Tobin, Bebel Gilberto, DubTrio, Kid Koala, Dale Crover, Rahzel und einigen von Pattons Freunden aus der Bay Area, wie Dan 'the Automator' Nakamura und Jel, Odd Nosdam und Dose One vom Hip-Hop-Kollektiv anticon. Das Endergebnis ist ganz und gar einzigartig und weicht doch deutlich von Pattons jüngstem lauten Output ab. Eine Pop-Platte vielleicht. Jedoch eine die aus Mike Pattons Feder stammt.

Modernists loved the latest R&B, blues and soul sounds coming from US cities such as Chicago, Memphis and Detroit and when British groups started playing their own interpretations in clubs and dancehalls they gained their own mod followings, their music remaining popular on the mod scene today.

Side 1 of this bespoke collection spotlights the British R&B scene and features a founding father of British blues Alexis Korner with the rare ‘Taboo Man’ alongside ace mod tracks from The Bo Street Runners, The Others, Mickey Finn and The Blue Men (featuring a youthful Jimmy Page on harmonica) and more.

Side 2 starts with British R&B groups developing their own sound by turning up their guitars, employing distortion, feedback and fuzz pedals to take the music in a new direction. Highlights include the Joe Meek produced ‘Crawdaddy Simone’ by The Syndicats (described as proto punk because of its ferocity), The In Crowd’s snarling ‘Things She Says’ and The Artwoods’ fuzz drenched mod favourite ‘I Take What I Want’ featuring future Deep Purple organist Jon Lord on organ.

Denny Laine (later of Wings) sings with The Moody Blues calming things down with some soulful beat.

Side 3 focuses on UK soul music - Rod ‘the mod’ Stewart backed by The Brian Auger Trinity takes on Sam Cooke’s ‘Shake’, the godfather of ska Laurel Aitken proves he’s also a natural soul man with his floor filling version of The Mar-Keys’ ‘Last Night’ and the amazing Barry St. John sings the funky ‘Gotta Brand New Man’. Popular club acts Lucas & The Mike Cotton Sound and Carl Douglas & The Big Stampede would regularly bring the house down at mod clubs and also feature.

Side 4 includes mod club dancefloor smashes from The Spencer Davis Group and Rupert’s People (AKA mod group Fleur De Lys) while mod heroes The Action go psychedelic with ‘Look At The View’. A moonlighting Jeff Beck of The Yardbirds plays on John’s Children’s ‘But She’s Mine’ and there are brilliant singles revered by freakbeat and psych collectors such as Double Feature’s ‘Baby Get Your Head Screwed On’ and The Drag Set’s ‘Day And Night’.

Rarities from The Trendbender Band and The Union (featuring Elmer Gantry) appear on vinyl for the first time.

New Jersey, Brick City hip-hop legend Beneficence and UK based producer duo Jazz Spastiks unearth a timeless treasure with the release of their collaboration album "Summer Night Sessions". With a completely jazzy street feel and slick written, soothing, intellectual lyrics the Ill Adrenaline co-founder releases his 8th full length album. Over 25 years of successfully releasing independent music, Beneficence set the bar high by using lo-fi, jazzy boom-bap sounds masterfully. Following his most successful "Stellar Mind" (2021) release accompanied with a memoir ("Concrete Soul - The Memoir & Making of Ill Adrenaline Records") of his life and music journey, the close Artifacts affiliate delivers a personal collage of authentic hip-hop music with a brilliant Jazz Spastiks backdrop. Well selected guest appearances in these "Summer Night Sessions" include Skyzoo, Saukrates, Doodlebug (of Digable Planets), Awon, El Da Sensei (of The Artifacts), J-Live, Rakaa Iriscience (of Dilated Peoples), Kid Abstrakt, Shabaam Sahdeeq, and grammy nominated R&B singer Anthony David on a CD/digital only bonus track. On the first single "Do This, Do That" feat. Awon, Beneficence flows smoothly over simple but captivating horns reminiscing about his come up on the music scene. "At the time I was seated behind Diddy and Biggie, '95 Source Awards keys to the city". "Mic Epps" displays lyricism in its finest form when Beneficence playfully pans between a reference to comedian Mike Epps and microphone episodes. "Civilize 'em with a mic check, I get funny on 'em, Mike Epps, you coming ugly imma swipe left, what we giving you is priceless, the nicest!". The musical marriage between the beautiful sounds of Jazz Spastiks and the sharp pen of Beneficence is tactfully done with rich and hypnotic bangers for hip-hop lovers with an ear for certified dopeness

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

After 14 years and nearly 150 CD releases, Cherry Red's psychedelic imprint Grapefruit finally produces its first-ever vinyl issue.

A 90-minute, 30-track anthology, ‘When The Alarm Clock Rings’ is an all-encompassing overview of the late 60s British psychedelic scene.

The set features major underground names (Crazy World of Arthur Brown, Blossom Toes, Dantalian's Chariot, John's Children), cult 45s (The Voice, Paper Blitz Tissue, The Syn), future legends (Alex Harvey, Genesis, Greg Lake's early venture The Shame) and pop groups who occasionally turned dayglo (The Merseys, Plastic Penny, Picadilly Line).

Limited to 1000 copies and containing Grapefruit's trademark combination of photos and annotation on stylish 12” x 12” inserts, ‘When The Alarm Clock Rings’ is an essential purchase for vinyl aficionados and a tantalising taster of further plastic platters!

There is no stopping the mighty SORCERER and in the autumn of 2023 the band will release their highly anticipated fourth album entitled ‘Reign Of The Reaper’. Again not content with repeating themselves the album features some of the darkest, heaviest and most aggressive material the band has ever recorded, and at the same time some of the most lyrical and beautiful. The band holed up in their home studios and wrote music all through 2022 and then once again headed to SolnaSound Recording in Stockholm, the studio owned, run and operated by Simon Johansson (Wolf, Soilwork) with Mike Wead (King Diamond). SORCERER are also known for their long title tracks with catchy and highly memorable choruses, and the second single ‘Reign Of The Reaper’ is no exception. Taking the listener through the realms of death and dread, this doom-laden epic with it’s many twists and turns will crush souls, leaving metal fans begging for more darkness and despair.

DJ Drama said about the album: I don't want to dramatize it too much – no pun intended, But the album is just bangers, something that can rock from beginning to end.
Guest appearances on the album include T.I., Young Dro, Sean P, Lonnie Mac, Ludacris, Willie the Kid, Trey Songz, Gucci Mane, LA Da Darkman, Yung Joc, Bun B, Flo Rida, Mike Jones, Rick Ross, Trick Daddy, Ray J, Akon, Fabolous, Yo Gotti, OJ da Juiceman, Nas, Scarface, Marsha Ambrosius, The-Dream, Too Short, Styles P, Jovan Dais, Snoop Dogg, B.G., Juvenile, and Soulja Slim. The producers on the album include Drumma Boy, Tricky Stewart, Cordale "Lil C" Quinn, and DJ Khalil, among others.

Produced by legendary rock historian and Bomp! Label founder GREG SHAW, the Los Angeles all-female combo delivers a neo-60's garage punk classic.

"Paula Pierce refused to play it cute. On the Pandoras' debut album she outsnarled, out- screamed, out- fuzzed and out araged the male- dominated competition--like a well-aimed go-go boot to the jugular." - Mike Stax

This final serving is a punishingly dense and saturated wall of twee.

A cursory glance at the tracklist - NO FRIENDS, I JUST CALLED TO SAY I HATE YOU, I SHIT ON YOUR GRAVE, YOU'LL PAY - is fair warning of the brooding resentment and alienation bubbling below the sprightly melodies. And just so we're all on the same page: There is no catharsis. The magic is gone and nothing is going to get better. If 2009's WITH TRUMPETS FLARING was the coronation of Gregory Pepper, NO THANKS is his funeral march.

Gregory Pepper & His Problems have received press and praise in PopMatters, Absolute Punk, Exclaim!, FLOOD Magazine, and Brooklyn Vegan. He is a longtime Fake Four Inc. artist who is deeply embedded in the underground hip hop world and even fronted a duo with super producer Factor Chandelier called Common Grackle which has released two albums on Fake Four Inc. Gregory Pepper has collaborated with Ceschi, AWOL One, MadadaM, Noah23, and Open Mike Eagle.

Rare late 80s reggae/dancehall heat coming yet again on DINTE sub-label 333. This time it's the turn of Hugh Maddo's Pop Style LP. Recorded in Jamaica at Byron Lee's Dynamics & Herman Chin-Loy's Aquarius studios for the Bronx-based Jamaazima label in 1987, it is issued here under license from co-producer and label owner, Nami Harmon. The record features a host of celebrated and renowned musicians incl. Winston Wright, Bobby Ellis, Carlton "Santa" Davis, Dwight Pinkney, Willie Lindo and Mikey "Boo" Richards amongst many others - alongside the sublime vocals of Killamanjaro's Hugh Maddo aka UU Madoo. A must.

Homemade, charming folk-rock with the lovely voice of MANDY MORTON, 12-string guitars, dulcimer, mandolin, fiddle… Fabulous covers of “Let No Man Steal Your Thyme”, “Matty Groves” and more!

Formed in the early 70s, Spriguns of Tolgus evolved from the folk duo of Mandy & Mike Morton and the scene centered around their Anchor Folk Club in Cambridge. In 1974, the band (Mike and Mandy plus Rick Thomas and Chris Russon) decided to produce a recording to raise funds for new equipment. Using a small tape recorder and mixing desk, “Rowdy Dowdy Day” was recorded live in the dining room at the band’s rented house. A small number of cassettes were produced and subsequently sold at the Anchor Folk Club.

With the original cassette impossible to find now, we’re glad to present a new vinyl edition.

“We grew up in the ’60s to the sound of The Beatles; we embraced flower power and all it brought with it; and we indulged ourselves in every type of music on offer. From America came The Byrds, Jefferson Airplane, Joni Mitchell and Bob Dylan, and here in the UK we celebrated our own heroes, Pentangle, Fairport Convention, The Incredible String Band and later Steeleye Span” – Mandy Morton

Berlin-based British composer, percussionist, and instrument maker Bex Burch was invited to spend a month in the US by International Anthem in Summer 2022. Burch immersed herself in the label"s creative community and listened to what it gave her, making field recordings and allowing There Is Only Love and Fear to emerge from the collaborations and environments she encountered. Sessions for the album spanned multiple non-traditional recording spaces including a storefront in Bridgeport, Chicago and a canyon in Griffith Park, Los Angeles, with an eminent cast of creative musicians including Ben LaMar Gay, Macie Stewart, Anna Butterss, Mikel Patrick Avery, and Dan Bitney of Tortoise, all of whom Burch met for the first time in the moments before they played. These moments of instant collaboration were then edited, decomposed, and recontextualized by Burch, resulting in a deeply organic, energetic-yet-patient addition to the canon of modern composition.